Bartsch  230 


No.  19  of  Catalogue 


MARC-ANTONIO  RAIMONDI 


and  the  other  Italian  Engravers 
of  the  Sixteenth  Century 


AN  EXHIBITION  OF  THEIR  ENGRAVINGS 

TO  BE  HELD  AT 

R.  EDERHEIMER’S  PRINT  CABINET 

WEST  FORTIETH  STREET,  NUMBER  FOUR 
NEW  YORK 

1909 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofexhib00unse_2 


CATALOGUE 

OF  AN 

Exhibition  of  Engravings 

BY 

Marc-Antonio 

Raimondi 

HIS  PUPILS  &  FOLLOWERS 


To  be  opened  on  Saturday  the  eighteenth  of 
September,  and  to  last  until  the  end  of  October 

1909 

R.  EDERHEIMER,  PRINT  CABINET 

WEST  FORTIETH  STREET,  NUMBER  FOUR 


NEW  YORK 


COPIES  OF  THIS  CATALOGUE 
SEVENTY-FIVE  CENTS 


ARRANGED  AND  PRINTED 
AT  THE  GOERCK  ART  PRESS 
915  SIXTH  AVE.,  NEW  YORK 


FTER  the  great  interest  shown  in  my 
Exhibition  of  the  Engravings  of 
Lucas  van  Leyden  by  the  art-loving 
public  of  our  city,  last  year,  I 
determined  to  bring  out  one  special 
display  of  unusual  interest  each  year 
besides  the  ordinary  serial  Exhibi¬ 
tions. 

As  the  Hudson-Fulton  Festival 
will  undoubtedly  bring  to  New  York 
a  large  number  of  Lovers  of  Art 
from  all  parts  of  the  world,  I  shall 
have  my  principal  Exhibition  of  the 
coming  season  at  that  early  date,  trying  thus  to  contribute  to 
the  best  of  my  ability  to  the  many  interesting  exhibits  to  be  seen 
at  our  city  then.  Although  my  subject  is  in  no  way  con¬ 
nected  with  the  historical  events  which  are  going  to  be  celebrated, 
I  trust  that  it  will  be  of  quite  some  interest  to  a  good  many  visit¬ 
ing  our  town  at  that  time,  especially  to  those  connoisseurs  who 
come  particularly  to  visit  the  exhibition  of  old  paintings  at  the 
Metropolitan  Museum  of  Art,  and  to  them  I  beg  to  extend  here¬ 
with  a  cordial  invitation. 

It  gives  me  great  satisfaction  to  be  able  to  show  this  year  the 
work  of  one  master,  who,  a  contemporary  of  Lucas  van  Leyden 
and  Albrecht  Duerer,  forms  with  them  the  great  and  brilliant  trio 

3 


of  engravers  of  the  Sixteenth  Century,  who  stamped  that  period 
as  the  greatest  in  the  history  of  graphic  arts,  namely, 

MARC-ANTONIO  RAIMONDI. 

Although  he  was  unlike  to  Lucas  and  Duerer,  in  the  respect 
that  his  technical  wonders  were  not  engravings  after  his  own 
ideas,  but  merely  reproductions  of  paintings  and  designs  of 
others,  nevertheless  he  deserves  the  credit  of  being  the  first  to 
have  used  this  method  to  reproduce  and  propagate  the  ideas  of 
great  artists  in  a  most  artistic  way.  Besides  his  extraordinary 
qualities  as  an  engraver,  Marc-Antonio  arouses  special  interest  on 
account  of  his  association  with  the  greatest  genius  of  the  Renais¬ 
sance,  Raphael. 

Raphael,  having  observed  the  marked  abilities  of  the  young 
engraver,  attached  him  to  his  studio,  and  to  the  co-operation  of 
these  two  artists  most  of  Marc-Antonio’s  beautiful  engravings 
can  be  attributed. 

We  have  here  a  fact  which  has  been  repeated  in  art  history 
in  various  instances.  Rubens  and  Van  Dyck  had  a  number  of 
engravers  working  under  their  eyes,  reproducing  their  inventions. 
The  most  prominent  example  was  given  in  the  Eighteenth  Cen¬ 
tury  by  Sir  Joshua.  To  his  ambition  of  reaching  a 
wider  public  than  could  be  reached  by  his  own  paintings  we  owe 
the  most  brilliant  period  of  British  engraving  in  Mezzotint.  At 
the  beginning  of  the  Nineteenth  Century  we  find  the  same  case 
with  J.  M.  W.  Turner  and  his  publication  of  the  Liber  Studiorum. 

There  has  been  of  late  a  tendency  on  the  part  of  collectors 
to  hold  that  engravings  by  old  masters  should  be  their  original 
inventions  and  not  based  on  the  designs  of  other  artists.  Thus 
in  the  last  ten  to  fifteen  years  general  interest  has  not  been 
directed  to  Marc-Antonio,  as  it  had  been  before,  whereas  in  times 
past  his  work  was  sought  even  more  than  that  of  Duerer.  If  the 
lack  of  originality  of  invention  had  been  the  only  reason  this 
would  be  a  rather  unjustified  prejudice,  since  just  in  these  last 
years  the  Mezzotints  have  gained  such  general  interest,  and  they 
are  certainly  only  reproductions.  I  feel  strongly  persuaded  that 
the  main  reason  for  the  decline  of  interest  here  in  our  master  lies 

4 


in  the  same  fact,  which  I  held  responsible  for  the  lack  of  general 
appreciation  of  Lucas  van  Leyden.  That  is,  that  there  are  hardly 
any  fine  specimens  of  either  master  to  be  found  and  the  opportu¬ 
nities  of  seeing  their  works  at  their  best  are  so  few  that  it  is 
easily  understood  that  most  collectors  concentrate  their  attention 
upon  Duerer,  of  whose  work  such  a  remarkable  number  of  fine 
impressions  is  still  in  existence. 

I  dare  say  that  the  work  of  Marc-Antonio,  at  least  so  far  as 
fine  impressions  of  capital  plates  are  concerned,  is  far  more  scarce 
than  even  that  of  the  Leyden  Master.  While  five  months  of 
strenuous  hunting  and  collecting  in  Europe  enabled  me  to  procure 
a  representative  display  of  the  latter’s  work,  I  hardly  think  that 
five  years  would  have  been  sufficient  to  do  the  same  with  the 
engravings  of  Marc-Antonio.  In  fact,  I  do  not  think  that  this 
would  have  been  possible  at  all,  had  not  a  fortunate  circumstance 
brought  into  my  hands  a  collection  which,  especially  as  to 
quality  of  impression,  can  hardly  be  surpassed. 

With  few  exceptions  the  engravings  shown  in  this  exhibition 
come  from  one  collection,  which  was  compiled  between  some 
seventy  and  forty  years  ago  by  a  most  careful  connoisseur,  the 
late  Dr.  Wm.  Engelmann,  of  Leipzig.  I  make  it  a  point  to  use  no 
other  descriptions  in  my  catalogue  as  to  quality  of  impression 
than  the  ones  used  by  the  previous  owner.  Since  he  was  far  from 
praising  his  property  for  any  speculative  purpose,  I  want  to  quote 
here  a  few  introductory  sentences  to  the  printed  catalogue  of  his 
collection.  He  wrote : 

“This  collection  has  been  formed  during  a  long  space  of 
“years,  and  has  been  cherished  by  its  owner  with  great 
“love.  It  was  the  aim  to  gather  the  most  beautiful  out  of 
“the  beautiful,  or  only  the  most  selected  and  earliest  states. 

“If,  therefore,  such  prints  are  called  excellent,  brilliant 
“or  extraordinarily  fine,  this  is  not  meant  in  order  to  praise 
“them,  for  all  such  descriptions  are  not  only  derived  from 
“the  opinions  of  the  previous  experienced  owners,  but 
“based  on  the  judgment  of  an  acknowledged  expert,  who 

5 


“has  most  unselfishly  assisted  the  owner  with  his  valuable 
“advice.” 


Leipzig,  November  15th,  1866. 


When  in  Europe  this  summer  I  tried  for  the  sake  of  com¬ 
parison  to  inspect  as  many  public  collections  as  possible  with 
regard  to  their  possession  of  prints  of  our  Master,  and  I  ascer¬ 
tained  that  even  the  leading  Museums  had  to  be  satisfied  with  a 
large  number  of  relatively  poor  specimens,  and  found  that  a  few 
of  those  in  my  hands,  which  I  had  considered  not  to  be  first  class 
before,  could  not  be  excelled  by  many  of  the  specimens  in  Euro¬ 
pean  Galleries.  I  saw  that  even  leading  collections,  like  those  of 
Dresden,  Munich  and  Frankfort,  owned  relatively  very  few  fair 
examples  of  Marc-Antonio’s  engravings.  The  best  collection  I 
found  to  be  at  the  Berlin  Museum.  I  think  it  superior  to  the  one 
of  the  Bibliotheque  Nationale  at  Paris,  although  the  latter  con¬ 
tains  various  first  states  of  extreme  rarity. 


Owing  to  the  lack  of  space  here  as  well  as  in  the  exhibition 
room,  the  main  interest  of  this  Catalogue  is  devoted  to  Marc- 
Antonio.  For  the  sake  of  completeness  I  shall  also  show  the  work 
of  his  principal  pupils  and  followers,  as  well  as  a  most  interesting 
little  collection  of  Italian  wood-cuts  in  clair-obscur,  some  of  which 
are  designed  by  Raphael,  and  others  reproduce  copper  engrav¬ 
ings  by  Marc-Antonio.  They  have  been  compiled  by  the  same 
collector  and  contain  some  pieces  of  extraordinary  beauty  and 
rarity. 

The  walls  of  the  main  exhibition  room  will  be  entirely 
devoted  to  Marc-Antonio,  the  shelves  to  the  clair-obscurs,  while 
the  work  of  the  other  masters  will  be  found  in  the  adjoining 
little  gallery.  All  items  of  this  catalogue  marked  with  an  aster¬ 
isk  will  be  on  view  in  portfolio. 


6 


As  I  have  done  with  Lucas  von  Leyden,  I  want  to  preface 
this  catalogue  with  some  biographical  notes  on  Marc-Antonio’s 
career.  I  shall  simply  quote  Ottley’s  translation  of  Vasari.  On 
the  little  which  Vasari  relates  about  Marc- Antonio  in  his  “Life 
of  the  Artists,”  nearly  all  facts  given  by  other  authors  are  based. 

R.  EDERHEIMER. 


7 


Marc-Antonio  Raimondi 


URING  the  time  that  Francesco  Francia 
“practised  painting  at  Bologna,  says 
“Vasari,  one  amongst  his  numerous  disci¬ 
ples,  because  more  ingenious  than  the 
“rest,  was  especially  brought  forward:  this 
“was  a  young  man,  called  Marc-Antonio, 
“who,  having  been  many  years  with  Fran- 
“cia,  and  being  much  beloved  by  him, 
“acquired  the  surname  of  de’Franci.  This 
“artist,  therefore,  who  was  a  more  skilful 
“designer  than  his  master,  and  managed 
“the  burin  with  ease  and  taste,  made  gir- 
“dles  and  many  other  things  ornamented 
“with  “niello,’’  which  were  then  in  use,  of 
“great  beauty;  he  being  in  that  mode  of  workmanship  truly  excellent. 
“Becoming  at  length,  as  happens  to  many,  desirous  to  travel,  that  he 
“might  see  the  productions  of  other  masters,  and  observe  the  different 
“processes  used  by  them  in  their  works,  he  took  leave  of  Francia  and 
“repaired  to  Venice,  where  he  was  well  received  by  the  artists  of  that  city. 

“It  happened  that  at  this  time  certain  Flemings  came  to  Venice,  with 
“a  great  many  prints,  engraved  both  in  wood;  and  copper,  by  Albre.cht 
“Duerer;  which  being  seen  by  Marc-Antonio,  in  the  Piazza  di  S.  Marco, 
“he  was  so  much  astonished  by  their  style  of  execution,  and  the  skill 
“displayed  by  Albrecht,  that  he  laid  out  upon  those  prints  almost  all 
“the  money  he  had  brought  with  him  from  Bologna,  and  amongst  other 
“things  purchased  the  Passion  of  Jesus  Christ,  engraved  on  thirty-six 
“wooden  blocks  of  a  small  quarto  size,  which  Albrecht  had  recently 
“published;  which  work  commenced  with  the  fall  of  Adam  and  his  ex¬ 
pulsion  from  Paradise  by  the  Angel,  and  ended  with  the  descent  of  the 
“Holy  Ghost  upon  the  Apostles.  Marc-Antonio  therefore  having  con¬ 
sidered  how  much  honour  as  well  as  advantage  might  be  acquired  by  one 
“who  should  devote  himself  to  that  art  in  Italy,  resolved  to  attend  to 
“it  with  the  greatest  diligence;  and  immediately  began  to  copy  those 
“engravings  of  Albrecht,  studying  their  mode  of  hatching,  and  every 
“thing  else  in  the  prints  he  had  purchased,  which  from  their  novelty  as 
“well  as  beauty,  were  in  such  repute,  that  every  one  desired  to  possess 
“them.  Having  therefore  counterfeited  in  the  copper,  with  bold  hatchings, 
“like  those  in  the  wood-prints  which  Albrecht  had  engraved,  all  this 
“series  of  thirty-six  pieces  of  the  Life  and  Passion  of  Christ,  and  having 
“marked  them  with  the  mark  which  Albrecht  used  upon  his  prints,  that 

8 


“is  “A.  E.,’’  (Vasari  doubtless  meant  “A.  D.”),  they  appeared  so  similar 
“in  their  manner  that,  nobody  knowing  Marc-Antonio  had  done  them, 
“they  were  believed  to  be  the  genuine  works  of  Albrecht,  and  as  such 
“exposed  to  sale  and  purchase:  which  circumstance  being  made  known 
“to  Albrecht  in  Flanders  by  a  letter  accompanying  a  set  of  these  copies 
“of  Marc-Antonio,  he  was  so  indignant,  that  he  left  Flanders  and  came 
“to  Venice,  where  he  made  his  complaint  against  Marc-Antonio  to  the 
“Government,  from  which  however  he  could  obtain  no  other  satisfaction, 
“save  that  Marc-Antonio  was  prohibited  from  using  the  name  or  above- 
mentioned  mark  of  Albrecht  upon  his  works  in  future.  After  this,  Marc- 
“Antonio  went  to  Rome,  where  he  dedicated  himself  entirely  to  the  work 
“and  study  of  design;  and  Albrecht,  upon  his  return  to  Flanders,  found 
“another  rival,  who,  in  competition  with  him,  had  already  engraved 
“several  most  delicately  finished  plates;  and  this  was  Lucas  of  Holland, 
“who  although  in  many  respects  he  was  not  so  good  a  designer  as  Al¬ 
brecht,  equalled  him  nevertheless  in  the  management  of  the  burin. 

“But  to  return  to  Marc-Antonio,  continues  Vasari,  who  being  arrived 
“in  Rome,  engraved  on  copper  a  most  beautiful  design  of  RafFaele  da 
“Urbino,  representing  Lucretia  killing  herself,  which  he  executed  with  so 
“much  care  and  delicacy  of  manner,  that  upon  its  being  immediately 
“carried  to  Raffael  by  some  of  his  friends,  he  presently  thought  of  having 
“prints  published  of  several  of  his  compositions;  and  amongst  others,  of  a 
“design  which  he  had  already  made  of  the  Judgment  of  Paris,  in  which 
“Raffael  had  fancifully  introduced  the  Chariot  of  the  Sun,  with  the  nymphs 
“of  the  woods,  rivers  and  fountains  with  vases  and  other  poetical  objects 
“around;  and  this  being  determined  upon,  it  was  so  finely  engraved  by 
“Marc-Antonio,  as  to  occasion  the  astonishment  of  all  Rome.  After  this 
“were  engraved  the  Massacre  of  the  Innocents,  with  most  beautiful  naked 
“figures  of  women  and  children,  which  was  a  most  rare  production;  the 
“Neptune  surrounded  by  small  stories  of  Aeneas;  the  admirable  Rape  of 
“Helen  likewise  designed  by  Raffael,  and  another  print,  in  which  was 
“represented  the  death  of  S.  Felicita  in  a  cauldron  of  boiling  oil,  and  the 
“decapitation  of  her  sons:  by  which  works  Marc-Antonio  acquired  so 
“great  a  reputation,  that  his  prints  became  much  more  esteemed,  on 
“account  of  their  fine  style  of  design,  than  those  of  the  Flemings,  and  the 
“venders  of  same  made  large  profits.  It  happened  that  Raffael  had  had 
“for  many  years  in  his  employ  a  man,  named  Baviera,  who  used  to  grind 
“his  colours.  And  as  he  was  not  deficient  in  talent,  his  Master  ordered 
“that  Marc-Antonio  should  go  on  engraving,  and  that  Baviera  should 
“attend  to  the  printing  of  his  plates;  that  thus  all  his  compositions  might 
“be  engraved,  and  sold,  in  large  or  small  quantities  to  whomsoever  desired 
“them.  And  so,  proceeding  in  the  undertaking,  they  published  an  infinite 
“number  of  prints,  by  which  they  acquired  great  gain;  and  all  the  plates 
“of  Marc-Antonio  were  signed  with  these  marks:  for  the  name  of  Raffael 

9 


“Sanzio  da  Urbino,  R.  S.;  and  for  the  name  of  Marc- Antonio,  M.  F. 

“Vasari  then  proceeds  to  describe  many  of  our  artist’s  engravings, 
“from  the  designs  of  Raffael;  after  which  he  informs  us  that  the  great 
“reputation  of  Marc-Antonio  having  gone  abroad,  and  the  art  of  engrav¬ 
ing  having  become  prized  and  in  high  repute,  many  persons  placed  them- 
“selves  under  him  to  be  taught  it;  amongst  whom  Marco  di  Ravenna  and 
“Agostino  Veneziano,  especially,  he  says,  made  great  profit  in  their 
“studies.  He  now  enumerates  many  prints  of  Agostino  Veneziano  and 
“Marco  di  Ravenna  which,  he  says,  were  engraved  by  them  during  the  life 
“time  of  Raffael;  and  states,  that  after  the  death  of  Raffael  the  two 
“artists  separated,  and  that  Agostino  was  employed  to  engrave  several 
“things  for  Baccio  Bandinelli. 

“Marc-Antonio  meanwhile  continuing  to  practice  his  art,  engraved, 
“he  says,  of  a  small  size,  the  twelve  Apostles,  in  different  ways;  and  also 
“many  figures  of  male  and  female  Saints:  in  order  that  inferior  painters, 
“not  well  practised  in  design,  might  avail  themselves  of  them  as  their 
“occasion  required.  After  these  things,  continues  Vasari,  Giulio  Romano, 
“who  during  the  lifetime  of  Raffael,  would  not,  from  his  modesty,  permit 
“any  of  his  works  to  be  engraved,  lest  it  might  be  thought  he  was  desirous 
“of  putting  himself  in  competition  with  his  master,  employed  Marc- 
“Antonio,  Raffael  being  then  dead,  to  engrave  two  very  fine  battles,  with 
“horses,  upon  plates  of  a  very  large  size;  besides  various  of  his  other 
“compositions,  and  amongst  twenty  very  indecent  designs,  to  each  of 
“which  Pietro  Aretino  added  an  indelicate  sonnet,  which  work  was  very 
“highly  reprobated  by  Pope  Clement.  And  indeed,  if,  when  it  was  pub¬ 
lished,  Giulio  Romano  had  not  already  gone  to  Mantua,  he  would  have 
“been  severely  punished  by  the  offended  Pontiff,  and  as  the  prints  were 
“found,  continues  Vasari,  in  places  where  it  was  least  to  be  expected,  they 
“were  not  only  prohibited,  but  Marc-Antonio  was  seized  and  thrown  into 
“prison,  where  he  would  long  have  had  cause  to  repent  his  temerity,  had 
“not  the  Cardinal  de’  Medici,  and  Baccio  Bandinelli,  who  was  at  that  time 
“employed  by  the  Pope  at  Rome,  got  him  liberated. 

“Marc-Antonio,  having  got  out  of  prison,  finished  for  Baccio 
“Bandinelli  a  very  large  plate,  which  he  had  before  begun,  full  of  naked 
“figures,  who  were  roasting  St.  Lawrence  upon  the  gridiron,  which  was 
“considered  a  truly  fine  performance,  and  was  engraved  with  incredible 
“diligence;  although  Bandinelli  complained  to  the  Pope,  most  unjustly, 
“that  Marc-Antonio,  in  the  course  of  the  work,  had  made  many  errors: 
“but  Bandinelli,  continues  my  author,  found  himself  treated  as  this  kind  of 
“gratitude  and  want  of  courtesy  deserved;  for  Marc-Antonio,  being 
“informed  of  everything,  as  soon  as  he  had  finished  the  plate,  and  before 
“Baccio  knew  it,  went  to  the  Pope,  who  was  a  very  great  lover  of  the 
“arts  of  design,  and  showed  him  first  the  original,  designed  by  Bandinelli, 

10 


“and  afterwards  his  print;  whence  the  Pope  saw  that  Marc-Antonio  had 
“not  only  not  committed  errors,  but  that,  with  great  judgment,  he  had 
“corrected  many  of  no  little  importance,  made  by  Bandinelli  himself,  and 
“that  he,  with  the  burin,  had  evinced  more  knowledge  and  skill,  than 
•'Baccio  in  his  design:  and  so  the  Pope  commended  him  highly,  and  ever 
“afterwards  saw  him  with  pleasure,  and  it  was  thought  would  have 
“bettered  his  fortune,  had  not  the  sackage  of  Rome  taken  place,  upon 
“which  occasion  Marc-Antonio  was  reduced  almost  to  beggary;  for 
“besides  losing  all  his  things  he  was  forced,  before  he  could  get  out  of 
“the  hands  of  the  Spaniards,  to  pay  a  considerable  ransom;  this  done,  he 
“departed  from  Rome,  to  which  city  he  never  afterwards  returned.  Hence 
“we  see  but  few  works  engraved  by  him  after  this  period. 

“The  remaining  pages  of  the  long  chapter  which  Vasari  styles 
“The  life  of  Marc-Antonio  and  others,”  are  devoted  to  an  account  of  the 
“numerous  works  of  engravings  by  different  hands,  which  were  published 
“from  the  time  of  Marc-Antonio  to  the  period  when  he  wrote.  He  closes 
“the  whole,  however,  with  this  further  brief  mention  of  the  Bolognese 
“artist:  To  conclude  (says  he)  for  the  great  advantages  which  the  nations 
“beyond  the  Alps  have  derived  from  being  enabled  to  form  an  idea  of 
“the  Italian  Artists,  by  means  of  printed  engravings,  as  well  as  for  those 
“which  the  Italians  enjoy  in  being  made  acquainted  with  the  works  of 
“strangers,  the  greatest  obligations  are  due  to  Marc-Antonio  of  Bologna, 
“who,  independent  of  his  having  so  greatly  contributed  to  the  advance¬ 
ment  and  general  establishment  of  this  art,  as  has  been  said,  has  not  been 
“much  excelled  by  any  who  have  practised  engraving  since  his  time:  and 
“indeed  in  some  things  few  can  bear  a  comparison  with  him. 

“The  said  Marc-Antonio,  not  long  after  his  leaving  Rome,  died  at 
“Bologna,  and  in  our  book  (of  drawings)  are  some  designs  of  angels  done 
“with  a  pen,  by  his  hand,  and  many  other  beautiful  drawings,  copied  by 
“him  from  the  pictures  which  Raffael  da  Urbino  painted  in  the  rooms 
“of  the  Vatican.  In  one  of  which  Frescoes,  Marc-Antonio,  then  young, 
“was  portrayed  by  Raffael  as  one  of  the  Palafrenieri,  who  are  carrying  the 
“Pope  Julius  the  Second;  in  that  part  (of  the  fresco  called  the  Helio- 
“dorus),  where  Onias,  the  Priest,  is  represented  at  prayers. 

“I  (Ottley)  have  given  Vasari’s  account  of  Marc-Antonio  in  a  careful 
“translation  of  his  own  words,  because,  nothwithstanding  the  errors 
“which  there  is  every  reason  to  believe  it  contains,  there  can  be  little 
“doubt  that  it  presents  us  with  some  of  the  leading  features  of  the  artist’s 
“life;  and  because  we  have  no  other  detailed  account  of  him  which,  from 
“its  antiquity,  can  be  said  to  have  the  smallest  pretensions  to  authenticity.” 


11 


Catalogue 

L  Engravings  by  Marc- Antonio 

1  Adam  and  Eve,  driven  out  of  Paradise 

Bartsch  2 
Ottley  2 
Delaborde  2 

Fine,  very  clear  impression. 

Supposed  to  be  engraved  after  a  drawing  by 
Raphael,  taken  from  Michel  Angelo’s  Frescoes  in 
the  Sistine  Chapel.  In  accordance  with  Bartsch 
very  rare. 

2  The  Lord  ordering  Noah  to  build  the  Ark 

B.  3,  O.  3,  D.  3 

After  a  design  of  Raphael  for  his  fresco  in  the 
chamber  of  Heliodore,  in  the  Vatican. 

1st  state  of  great  rarity;  the  index  finger  of  the 
right  hand  of  God  is  covered  with  simple  lines,  and 
the  head  of  the  pigeon  (held  by  the  child  next  to 
the  door),  has  only  perpendicular  lines  (simple 
hatching).  Repaired  in  some  spots. 

3*  The  Queen  of  Sheba  visiting  Solomon 

B.  13,  O.  8 

Good  old  impression. 

This  plate  is  not  entirely  finished,  it  is  laid  out  in  a 
bold  but  coarse  manner.  Bartsch  presumes  that  the 
engraver  did  not  finish  the  work,  because  it  did  not 
turn  out  to  his  satisfaction ;  Ottley  thinks  the  plate 
has  been  executed  partly  by  pupils ;  Delarborde  clas¬ 
sifies  it  simply  amongst  the  pieces  erroneously  at¬ 
tributed  to  Marc-Antonio.  In  accordance  with 
Vasari  it  was  engraved  by  Marco  Dente  da  Ravenna. 

NOTES. — The  numbers  of  this  Catalogue  are  arranged  in 
succession  according  to  Bartsch.  Until  October  First,  I  shall 
reserve  the  right  to  sell  the  entire  collection  as  a  whole.  In  the 
meantime,  however,  I  will  sell  any  prints  subject  to  the  above 
reservation. 


12 


THE  MASSACRE  OF  THE  INNOCENTS  No.  4  of  Catalogue 


4  The  Massacre  of  the  Innocents 

B.  18,  0. 10,  D.  8 

(See  reproduction  facing  page  12  ) 

The  plate  with  the  “Chicot.”  (The  little  fir-tree  in 
the  upper  corner  on  the  right). 

Extraordinarily  beautiful  and  clear  impression  of 
this  extremely  rare  and  valuable  print  (Engelmann 
Cat.). 

5  The  same,  the  plate  without  the  “Chicot.” 

B.  20,  Ottley  11 

Brilliant  impression  of  the  first  state,  extremely 
rare. 

The  above  two  versions  of  this  subject  have  received 
the  attention  of  authors  as  well  as  connoisseurs  in 
all  periods,  and  have  given  rise  to  a  literary  dispute 
which  does  not  seem  to  have  been  decided  yet. 
Malvasia,  who  gives  a  very  romantic  story  about  the 
two  plates,  states  that  both  were  engraved  by  Marc- 
Antonio ;  Abbe  Zani  attributes  the  version  without 
the  Chicot  to  our  Master,  and  says  that  Marco  da 
Ravenna  was  the  engraver  of  the  repetition.  Bartsch 
agrees  with  him  upon  the  point  that  one  version 
was  engraved  by  Marco-Dente,  but  expresses  his 
conviction  in  strong  terms  that  the  plate  with  the 
Chicot  was  the  one  engraved  by  Marc-Antonio. 
Delaborde  follows  this  opinion,  while  Passavant 
again  strongly  opposes,  stating  that  the  plate  with¬ 
out  the  tree,  being  far  superior  in  detail  to  the  plate 
with  the  tree,  could  alone  be  the  original.  While  he 
conjectures  that  the  other  plate  was  engraved  by 
George  Pencz,  the  German  artist,  belonging  to  the 
group  of  the  Little  Masters,  who  studied  while  in 
Italy  under  Marc-Antonio  and  adopted  his  style  very 
closely,  there  seems,  however,  to  be  nothing  to  up¬ 
hold  that  view.  In  the  reproductions  of  the  British 
Museum  Prints,  the  fir  tree  version  is  given  as  the 
original,  while  in  Lippman’s  great  work  the  other 
plate  is  reproduced  as  such.  Frank  Weitenkampf 
also  reproduces  the  latter.  Ottley,  on  the  other 
hand,  is  fully  persuaded  that  both  plates  were  en- 

13 


graved  by  Marc-Antonio,  an  opinion  with  which  I 
feel  inclined  to  agree.  While  in  the  plate  without  the 
Chicot  there  is  certainly  more  dramatic  expression 
in  the  horror  stricken  faces,  the  work  in  the  other 
plate  seems  to  be  more  delicate  and  finished.  The 
Massacre  of  the  Innocents  has  been  considered  to  be 
one  of  the  masterpieces  in  engraving  during  all 
times.  We  have  no  painting  of  Raphael  of  the  sub¬ 
ject,  and  can  assume  that  he  made  the  design  solely 
as  the  basis  of  an  engraving.  From  the  number  of 
sketches  left  for  his  drawing,  we  can  conclude  that 
Raphael  himself  attached  special  care  to  this  compo¬ 
sition.  It  is  therefore  not  at  all  impossible  that  after 
the  great  success  the  engraving  had  met  with,  Marc- 
Antonio  himself  repeated  it,  after  the  first  plate  had 
been  worn  out. 

As  both  plates  are  equally  beautiful  and  equally  rare 
it  is  hard  to  say  which  one  is  the  more  valuable  of 
the  two.  No  matter  which  contention  of  the  critics 
be  finally  held  correct,  the  ultimate  decision  would, 
of  course,  not  affect  the  fortunate  owner  of  both 
versions.  And  it  is  a  very  rare  occasion  indeed  to 
find  both  plates  together  and  in  such  beautiful  im¬ 
pressions. 


6  Mary  Magdalen,  at  the  feet  of  Christ,  in  the  house  of 
Simon  the  Pharisee 

B.  23,  0. 13,  D.  16 

First  very  beautiful  old  impression,  before  the 
address  of  Lafrery  and  the  squaring  of  the  floor. 

The  design  of  this  beautiful  engraving  is  generally 
attributed  to  Raphael,  but  various  authors  question 
that  he  is  the  originator.  Ottley  ascribes  it  to  Poli- 
doro,  Passavant  to  Garofalo.  There  are  three  states 
known  of  the  plate  : 

The  first:  Without  any  monogram  or  address,  the 
floor  is  left  entirely  white. 

The  second :  Without  any  name,  but  having  the 
squares  on  the  floor. 

The  third :  With  the  address  of  Lafrery. 

14 


7  The  Last  Supper ;  also  called  “La  Cene  aux  pieds” 

(See  reproduction  facing  page  18  ) 

B.  26,  0. 15,  D.  17 

Impression  of  greatest  beauty.  As  is  generally  con¬ 
ceded,  one  of  the  rarest,  most  valuable  and  sought 
for  prints  of  the  master  (Engelmann  Cat.). 

This  engraving  is  one  of  the  most  remarkable  by  the 
Master.  The  plate,  which  is  described  and  repro¬ 
duced  in  this  catalogue,  is  certainly  one  of  the  finest 
impressions  in  existence.  No  European  collection 
which  I  have  seen  owns  a  finer  copy  of  it.  I  learn 
from  a  reliable  source  that,  besides  this  one,  there  is 
only  one  specimen  of  it  in  this  country. 

Raphael’s  design  for  this  plate  is  preserved  in  the 
Royal  library  at  Windsor  Castle.  The  second  title 
of  the  Engraving,  meaning  “the  Lord’s  Supper  with 
the  Feet”  is  due  to  the  fact  that  the  feet  of  Christ 
and  the  Apostles  are  visible  below  the  table  cloth ;  a 
fact  which,  however,  does  not  justify  special  men¬ 
tion,  since  we  find  it  also  in  various  other  represen¬ 
tations  of  this  scene,  as  in  the  famous  painting  by 
Leonardo  and  others. 


8*  Three  holy  women  going  to  the  Sepulchre. 

B.  33 

Fine  impression  from  the  Collection  Keller,  Schaff- 
hausen. 

Neither  Delaborde,  Passavant  nor  Ottley  quote  this 
engraving  amongst  Marc-Antonio’s  work.  Bartsch 
states  that,  although  it  is  generally  attributed  to  that 
master,  there  is  more  likelihood  that  Agostino  Vene- 
ziano  was  its  author.  The  work  is  coarse  and 
clumsy  and  shows  little  of  Marc-Antonio’s  qualities. 

It  was  engraved  after  the  design  of  Michel-Angelo. 

15 


9  St.  Paul  preaching  at  Athens. 


B.  44,  O.  23,  D.  84. 

Strong  first  impression,  but  repaired. 

This  plate  which  must  have  been  engraved  about 
1515,  the  period  of  the  Master’s  greatest  strength,  is 
counted  amongst  the  finest  and  most  sought  for  of 
his  engravings.  The  same  subject  with  few  varia¬ 
tions  is  represented  on  one  of  Raphael’s  Cartoons 
now  at  the  South  Kensington  Museum,  London,  but 
it  is  probable  that  the  engraving  was  made  after  a 
design  for  this  Cartoon,  which  design,  however,  is 
not  now  known  to  exist. 


10  The  Madonna,  seated  on  the  Clouds,  with  the  In¬ 
fant  in  her  arms. 

B.  52,  O.  27,  D.  10 

Rich  and  beautifully  soft  impression,  slightly  re¬ 
paired. 

Engraved  by  Marc-Antonio  after  a  design  by 
Raphael  for  his  celebrated  painting,  the  Madonna  di 
Foligno. 


11  The  Holy  Family  with  the  Infant  St.  John,  com¬ 
monly  called  “La  Vierge  a  la  longue  cuisse” 

B.  57,  O.  29,  D.  12 

Extremely  fine  impression  with  margin,  from  the 
collection  A.  Alferoff,  Bonn. 

As  to  the  size  of  the  plate  and  the  figures  it  contains 
this  is  one  of  the  most  important  engravings  of  the 
master.  It  was  finished  after  the  design  of  Raphael 
in  the  last  period  of  the  latter’s  life,  probably  in 
1518  or  T9,  and  most  likely  one  of  the  best  engrav¬ 
ings  made  under  the  eyes  of  that  genius. 

16 


12*  Repetition  of  the  same  by  Marco  Dente  da  Ravenna 

B.  58 

Very  fine  impression 

Outlines  and  sizes  are  about  the  same  as  on  the 
preceding  engraving,  the  most  conspicuous  differ¬ 
ence  lies  in  the  fact,  that  the  head  of  a  donkey 
shown  in  part  on  the  right  side  of  Marc-Antonio’s 
plate  is  missing  here.  There  is  instead  on  about 
the  same  spot  a  little  barrel  hanging  from  the  stone 
wall ,  which  shows  the  monogram  of  Marco  da 
Ravenna. 


13  The  Holy  Family 

B.  60,  O.  32 

Extraordinarily  fine  old  impression  of  greatest 
rarity,  from  the  Lipphart  Collection. 

In  dealing  with  this  print  Bartsch  writes :  “This  en¬ 
graving  which  is  extremely  rare  is  one  of  the  mas¬ 
terpieces  of  Marc-Antonio ;  he  engraved  it  in  the 
best  period  of  his  activity  with  admirable  care  and 
neatness,  after  a  design  of  Raphael  where  this  great 
painter  combined  grace  with  greatest  beauty.  On 
the  lower  left  corner  one  remarks  the  little  tablet 
representing  the  engraver’s  signature.” 

Under  number  61  of  his  catalogue  Bartsch  quotes 
a  repetition  of  this  engraving  by  the  engraver  him¬ 
self,  showing  some  important  changes,  the  principal 
one  being  that  St.  Joseph  is  omitted  entirely.  Ottley 
considers  this  engraving  to  be  the  earlier  work  and 
maintains  that  the  other  plate  was  finished  many 
years  afterwards.  Delaborde  however  only  quotes 
this  print  amongst  the  doubtful  pieces  and  also 
doubts  whether  the  design  was  made  by  Raphael, 
but  thinks  it  to  have  been  the  work  of  one  of  his 
pupils. 


17 


14  The  Martyrdom  of  St.  Lawrence 

B.  104,  O.  55,  D.  85 

Excellent  impression. 

This  engraving,  showing  a  very  rich  composition, 
is  the  largest  and  also  one  of  the  last  plates  by  the 
artist.  As  heretofore  mentioned  in  the  introduction, 
it  was  engraved  after  the  design  of  Baccio  Bandi- 
nelli.  Delaborde  writes  about  this  remarkable  en¬ 
graving  as  follows : 

“In  spite  of  the  emphasis  and  pedantry  in  style  of 
the  design  which  served  as  model,  in  spite  of  the 
openly  theatrical  arrangement  of  the  composition, 
the  Martyrdom  of  St.  Lawrence  is  one  of  the  most 
celebrated  and  sought  after.  Beyond  doubt  its  ex¬ 
treme  rarity  accounts  largely  for  the  exceptional 
price  attached  to  it.  But  the  fame  of  the  St.  Law¬ 
rence  is  also  explained  and  justified  by  the  extraor¬ 
dinary  ability  the  engraver  has  developed  in  the  exe¬ 
cution  of  this  work.  If,  owing  to  the  deficiencies  of 
the  model,  the  plate  is  not  the  most  worthy  of  ad¬ 
miration,  nor  quite  the  most  beautiful,  which  he  has 
produced,  it  is  at  least  one  of  those  in  which  from 
the  scientific  standpoint,  he  has  shown  at  its  best, 
the  power  and  soundness  of  his  talent.” 

Two  different  states  of  this  plate  are  known. 

In  the  first  state,  of  which  only  a  very  small  num¬ 
ber  of  impressions  are  known,  the  tormentor  stand¬ 
ing  to  the  left  nearest  to  the  gridiron  is  holding 
two  wooden  forks. 

In  the  second  state  one  of  these  forks  has  been 
taken  out,  but  its  traces  are  still  plainly  visible. 


18 


Bartsch  26  THE  LAST  SUPPER  No.  7  of  Catalogue 


15  Christ  seated  in  the  clouds,  between  the  Madonna 
and  St.  John,  the  Baptist,  below  St.  Paul  and  S. 
Catherine ;  plate  commonly  called  “The  five 
Saints” 

B.  113,  O.  58,  D.  22 

Capital  plate  in  beautiful  old  impression,  absolutely 
perfect  without  any  repairs,  very  rare,  (Engelmann 
Cat.) 

“This  is  one  of  Marc-Antonio’s  most  capital  produc¬ 
tions,  and  was  probably  engraved  by  him  some 
years  after  his  arrival  at  Rome,  from  a  studied  de¬ 
sign  of  Raphael.”  (Ottley.). 

Raphael’s  design  for  this  engraving  is  kept  in  Paris 
at  the  Louvre. 


16  St.  Cecilia,  accompanied  by  St.  Paul,  St.  John,  St. 

Mary  Magdalen  and  St.  Augustine;  with  a 
choir  of  angels  above 

B.  116,  O.  60,  D.  92 

Extraordinarily  beautiful  first  impression,  with  the 
“necklace”  viz:  the  strong  shades  under  the  chin 
of  the  Saint;  slightly  repaired.  (Engelmann  Cata¬ 
logue). 

This  beautiful  engraving  bears  the  cypher  of  Marc- 
Antonio  on  the  instrument  at  the  feet  of  St.  Cecilia. 

It  was  engraved  after  a  design  by  Raphael  for  his 
famous  painting  now  at  Bologna.  The  shading 
under  the  chin,  as  mentioned  above,  having  turned 
out  so  strong  as  to  give  it  the  appearance  of  a  black 
necklace,  accounts  for  the  fact  that  this  print  is  also 
known  under  the  title :  La  Ste.  Cecile  au  collier. 


19 


17  The  Martyrdom  of  St.  Cecilia 

B.  117,  O.  61,  D.  91 

Fine  old  impression,  repaired.  ■ 

Bartsch  and  Ottley  call  this  plate :  The  Martyrdom 
of  St.  Felicita,  which  denomination  is  derived  from 
Vasari.  Passavant  and  Delaborde,  however,  prove 
that  this  title  has  been  given  erroneously  to  this  en¬ 
graving  and  that  the  event  treated  here  shows  the 
martyrdom  of  St.  Cecilia,  her  husband  Valerianus 
and  his  brother  Tiburcius.  The  fresco  for  which 
Raphael  made  the  design  which  formed  the  basis  of 
this  engraving  is  to  be  found  in  the  chapel  of  the 
old  papal  hunting-seat  Magliana,  standing  on  the 
grounds  of  the  convent  of  St.  Cecilia  of  Traste- 
vere.  This  fact  makes  it  also  quite  certain,  that  the 
latter  title  is  the  correct  one.  Delaborde  also  quotes 
a  copy  of  the  plate  in  woodcut,  showing  the  words: 
“Martium  S.  Cecilie.” 


18*  Alexander  the  Great  depositing  the  works  of  Homer 
in  the  tomb  of  Achilles 

B.  207,  0. 126,  D.  190 

Old,  first  impression  before  the  address  of  Sala¬ 
manca  (repaired). 

Bartsch  and  Ottley  call  this  print :  Alexander  hav¬ 
ing  put  Homer’s  works  into  the  coffer  of  Darius. 

This  title  Pasavant  calls  erroneous. 

In  spite  of  Bartsch,  who  calls  it  one  of  the  most 
perfect  plates  of  the  master,  we  rather  join  in  De- 
laborde’s  opinion  who  styles  it  one  of  the  coarsest  of 
his  work,  but  he  also  admits  that  first  states  before 
the  address  of  Salamanca  and  other  changes,  are 
extremely  rare.  Raphael  made  the  design  repre¬ 
sented  here  for  his  painting,  to  be  found  in  the 
chamber  of  the  Segnatura  of  the  Vatican,  below  the 
famous  Mount  Parnassus. 

20 


19  Two  Fauns,  carrying  an  Infant  in  a  basket 

B.  230,  O.  122,  D.  144 

(See  reproduction  on  cover.) 

Very  beautiful  impression. 

This  piece,  which  is  not  signed,  is  certainly  by  the 
hand  of  Marc-Antonio,  it  reproduces  an  antique 
basso-relievo.  Bartsch  says  about  it :  “One  can  not 
very  well  desire  anything  more  perfect,  as  far  as  de¬ 
sign  and  engraving  are  concerned,  than  this  superb 
print,”  an  opinion  with  which  most  other  authors 
agree. 


20  The  Judgment  of  Paris 

B.  245,  O.  130,  D.  114 

(See  reproduction  facing  page  3  ) 

Brilliant  impression  of  extraordinary  beauty,  before 
any  retouches,  on  fine  paper,  with  the  visible  water¬ 
mark  of  the  scissors.  Of  greatest  rarity.  (Engel- 
mann  Catalogue). 

This  print,  which  is  reproduced  in  the  catalogue,  is 
not  only  as  far  as  the  subject  is  concerned  one  of  the 
most  beautiful  of  the  master’s  work,  but  the  impres¬ 
sion  shown  in  this  exhibition,  is  also  the  finest  which 
I  have  seen  in  any  collection.  As  to  freshness  and 
beauty  of  tone  it  is  absolutely  ideal.  It  is  so  beauti¬ 
ful,  that  many  other  fine  things  shown  here,  which 
are  certainly  of  first  class  and  probably  difficult  to 
find  in  such  quality,  will  look  poor  in  comparison 
with  this  wonderful  engraving.  This  fact  is  well  il¬ 
lustrated  by  the  second  impression  I  own  of  the  en¬ 
graving.  While  also  an  old  impression  of  the  same 
state  on  paper  with  the  same  watermark,  a  print  in 
perfect  condition  and  beautiful  tone,  it  simply  cannot 
stand  comparison  with  the  superb  first  plate.  To 
make  the  contrasts  still  stronger,  I  will  show  how 
the  beauty  of  an  original  is  absolutely  lost  as  soon  as 

21 


it  is  retouched  by  another  hand  and  worn  through 
too  many  impressions.  It  is  hardly  credible  that  the 
later  state,  showing  Salamanca’s  address,  which  can 
be  seen  in  portfolio,  should  come  from  the  same 
plate.  According  to  Vasari,  this  plate,  one  of  the 
first  Marc-Antonio  made  when  in  Rome  after 
Raphael’s  design,  must  have  been  engraved  about 
1510. 

There  are  two  different  kinds  of  impressions  or 
states  known  before  the  plate  had  been  retouched. 
The  first  can  be  recognized  by  traces,  easily  seen  on 
very  first  impressions  but  far  less  apparent  on  later 
prints,  of  a  preliminary  operation,  to  which  the  artist 
seems  to  have  submitted  the  lower  part  of  the  plate. 
Thus  says  Delaborde,  who  continues :  An  operation, 
most  probably  done  by  the  rubbing  of  the  metal  by  a 
piece  of  pumice-stone  or  carbon,  in  order  to  produce 
a  kind  of  hatching  or  roulette  effect.  The  result  of 
this  preparatory  work  was  a  local  coloring,  an  under¬ 
tone,  so  to  say,  which  being  on  the  lower  or  darker 
part  of  the  plate  only,  strengthens  the  contrast  of 
these  lower  regions  with  the  sky,  to  which  more 
light  and  brilliancy  is  thereby  given. 

Delaborde  mentions  an  impression  in  the  Biblio- 
theque  Nationale  and  Passavant  one  at  the  British 
Museum,  which  perhaps  better  than  any  others  illus¬ 
trate  this  preliminary  proceeding,  owing  to  the  fact 
of  their  having  margins,  on  which  these  traces  can 
easily  be  seen. 

As  the  impression  exhibited  here  has  a  full  margin 
on  the  four  sides  (the  one  at  Paris  having  it  only  on 
the  left  side)  these  fine  lines  can  be  found  without 
any  difficulty. 


22 


21*  The  same,  the  second  impression  above  referred  to 

Being  also  of  the  first  state,  the  traces  can  still  be 
seen  here,  but  much  weaker. 


21a*The  same,  Impression  of  the  worn  out,  retouched, 
state,  showing  the  address  of  Salamanca 


22  Mount  Parnassus,  with  Apollo,  the  Muses  and  the 
poets  of  antiquity 

B.  247,  0. 132,  D.  110 

Old,  very  beautiful  impression,  few  little  tears  re¬ 
paired. 

Raphael  has  painted  this  subject  in  the  Stanza  della 
Segnatura  at  the  Vatican,  but  owing  to  a  number  of 
differences  the  engraving  must  have  been  made  after 
a  previous  design  of  the  painter. 


23  The  Satyr  and  the  Child 

B.  281,  O.  186,  D.  142 

Fine  old  impression,  of  this  very  rare  plate,  from  the 
collections  Gawet  and  Quandt. 

“This  superb  print,  which  is  very  rare,  is  engraved 
by  Marc-Antonio  after  Raphael.  The  engravers 
cypher  can  be  seen  in  the  lower  left  corner.” 
(Bartsch).” 


24  A  Faun  seated  near  a  child,  probably  Marsyas,  teach¬ 
ing  young  Olympus  to  play  the  flute 

B.  296,  O.  213,  D.  143 

Good  old  impression  of  this  rare  engraving,  from 
the  coll.  Quandt,  without  mark,  supposed  to  be  en¬ 
graved  after  Raphael’s  design. 


23 


25  Venus,  seated  on  the  left,  drying  her  feet  after  bath¬ 

ing,  and  Cupid  standing  on  the  right,  with  his 
bow  in  his  left  hand  and  his  right  arm  raised 
over  his  head 

B.  297,  O.  210,  D.  115 

This  engraving  is  one  of  the  most  beautiful  and 
highly  valued  of  the  work  of  the  master.  The  im¬ 
pression  shown  here  is  the  copy  A.  according  to 
Bartsch,  about  which  he  says,  that  it  is  very  re¬ 
markable  for  the  beauty  of  design  and  exactness  of 
line.  Bartsch  feels  tempted  to  attribute  this  copy 
or  repetition  to  Marc-Antonio  himself.  One  dis¬ 
tinguishes  it  from  the  original  through  the  fact  that 
the  joints  of  the  boards  of  the  seat  upon  which 
Venus  sits,  to  be  seen  next  to  the  cloth  on  the 
original,  are  missing  here. 

26  Bachus,  seated  upon  a  large  butt,  a  woman  and  two 

children  bringing  grapes,  and  a  naked  man 
emptying  them  into  a  wine  press ;  also  called : 

The  little  Vintage 

B.  306,  O.  223,  D.  136 

Fine  old  impression,  in  perfect  condition. 

Plate  without  signature,  but  on  account  of  its 
beauty  one  of  the  most  authentic  of  Marc-Antonio’s 
work.  Most  probably  engraved  after  a  design  of 
Raphael. 

27  The  three  Graces,  or  Naiads 

B.  340,  G.  262,  D.  124 

Very  beautiful  impression. 

This  print,  generally  called,  the  three  Graces,  but 
very  likely  representing,  three  Naiads,  on  account  of 
the  attributes  of  two  urns  shedding  water,  resembles 
an  antique  group,  now  to  be  seen  at  the  Libreria  of 
the  Cathedral  of  Siena,  which  had  inspired  Raphael 
to  compose  one  of  his  first  paintings.  (Delaborde). 

24 


28  Mars,  Venus  and  Cupid 


B.  345,  O.  263,  D.  119 

Very  beautiful  impression,  from  the  Collection  San- 
tarelli. 

This  print,  one  of  the  few  which  the  Artist  dated, 
shows  the  year  1508.  It  was  engraved  in  the  period 
before  Marc-Antonio  came  to  Rome  and  met 
Raphael.  It  was  made  after  the  design  of  Man¬ 
tegna;  the  landscape  however  shows  very  much  of 
Duerer’s  influence. 

There  are  impressions  in  existence,  of  utmost  rarity 
however,  without  the  torch  in  the  hand  of  Venus 
and  the  head  of  Medusa  on  the  shield  of  Mars. 


29  Galathea,  standing  in  a  car,  drawn  by  Dolphins,  and 
surrounded  by  Sea  Nymphs,  Cupids  and  Tritons 

B.  350,  O.  272,  D.  130 

Fine  old  impression. 

The  engraving  was  made  after  Raphael’s  Fresco  in 
the  Farnesina,  Rome.  Bartsch  calls  this  engraving 
one  of  the  finest  and  rarest  of  Marc-Antonio’s  work. 


30  Neptune  appeasing  the  tempest,  which  Aeolus  has 
raised  against  the  fleet  of  Aeneas;  Plate  com¬ 
monly  called  “The  Quos  Ego” 

B.  352,  O.  273,  D.  102 

Impression  of  the  second  state,  with  the  address  of 
Salamanca,  retouched  by  Beatrizet  or  Villamena.  A 
beautiful  plate. 

“The  principal  subject,  above  mentioned,  is  sur¬ 
rounded  by  several  smaller  representations  of  differ¬ 
ent  parts  of  the  story  of  Aeneas,  accompanied  by  in¬ 
scriptions.  The  design  is  doubtless  by  Raphael  and 
the  engraving  which  is  executed  with  great  delicacy 
of  ourin,  and  at  the  same  time  force  of  effect,  is 
justly  esteemed  one  of  Marc-Antonio’s  most  capital 
productions.  (Ottley).” 


25 


31-37  The  Virtues;  a  set  of  seven  pieces,  engraved  by 

Marc-Antonio  from  the  designs  of  Raphael.  The 

figures  are  represented  with  their  attributes, 

standing  in  niches,  and  each  piece  is  marked 

with  the  cypher  and  numbered. 

Most  beautiful,  uniform  old  impressions  in  perfect 
condition. 


31 

Charity 

B.  386,  0.  230,  D.  147 

32 

Faith 

B.  387,  O.  231,  D.145 

33 

Justice 

B.  388,  O.  232,  D.  148 

34 

Fortitude 

B.  389,  O.  233,  D.  149 

35 

Temperance 

B.  390,  O.  234,  D.  150 

36 

Hope 

B.  391,  O.  235,  D.  146 

37 

Prudence 

B.  392,  O.  236,  D.  151 

38  The  plague  in  Phrygia,  plate  called  “il  Morbetto” 

B.  417,  O.  123,  D.  189 

Very  fine  old  impression,  before  any  retouches. 
(Richardson  Collection). 

Delaborde  mentions  five  different  states  of  this 
plate,  which  Bartsch  calls  extremely  rare,  of  these 
only  two  before  address  of  Salamanca  and  others  and 
before  retouching.  The  first  state,  of  which  only 
few  impressions  are  known  (Passavant  mentions  o'ne 
at  the  British  Museum)  does  not  show  the  inscrip¬ 
tions :  Linguebant,  etc.,  and  Effigies  sacrae,  etc. 

26 


39  A  Lion  Hunt,  piece  also  called:  “The  Hunt  of 


Trajan” 


B.  422,  O.  127,  D.  193 


Good  old  impression. 

This  plate  was  engraved  by  the  artist  with  light  and 
spirited  burin  after  Raphael’s  design  from  an  antique 
basso-relievo  on  a  sarcophagus,  which  used  to  be  at 
St.  Peters,  Rome,  but  which  is  now  to  be  found  at 
the  Louvre,  Paris. 


40  A  group  of  three  figures,  from  the  celebrated  Car¬ 
toon  of  the  Battle  of  Pisa  by  Michael  Angelo. 
Piece  famous  under  the  title:  “Les  Grimpeurs” 
“The  Climbers” 


B.  487,  O.  257,  D.  196 
Extremely  rare  and  brilliant  impression. 


(See  reproduction  facing  page  28) 

It  gives  me  pleasure  to  conclude  this  series  of  Marc- 
Antonio  originals,  with  one  of  the  rarest  and  most 
beautiful  of  his  work. 

This  beautiful  example  of  the  high  qualities  of  the 
engraver  contains  one  fact  of  great  interest.  While 
the  figures  follow  closely  the  design  of  Michael 
Angelo,  the  Landscape  offers  an  exact  copy  of  the 
plate  by  Lucas  van  Leyden,  representing  Mahomet 
and  the  monk  Sergius,  of  the  year  1508,  with  the 
only  exception  that  the  tree  in  the  middle  has  been 
omitted  by  Marc-Antonio.  His  plate  which  is  dated 
1510,  shows  how  in  his  early  period  he  was  in¬ 
fluenced  not  only  by  Duerer  but  also  by  the  Leyden 
Genius,  a  fact  all  the  more  interesting  because  the 
latter  shows  in  the  work  of  his  last  period  the  very 
strong  influence  of  Marc-Antonio’s  style. 


40a*Lucas  van  Leyden,  Mahomet  and  the  Monk  Sergius. 

B.  126 


27 


41-45*Copies  on  Copper  after  Duerer’s  wood-cuts,  from 
the  set  of  “The  Life  of  the  Virgin” 

41  St.  Joachim  and  the  Angel 

B.  622 


42  St.  Joachim  embracing  St.  Anne 

B.  623 

43  The  Birth  of  the  Virgin 

B.  624 

44  The  Circumcision. 

B.  632 

45  The  young  Christ  in  the  temple 

B.  635 

All  copies  show  Duerer’s  Cypher. 

28 


No.  40  of  Catalogue 


Bartsch  487 


“THE  CLIMBERS” 


II.  The  Pupils  and  Followers  of 
Marc- A  ntonio 

A  Agostino  de  Musis,  called  Agostino  Veneziano 

Born  Venice  about  1490,  died  about  1540. 


46  The  Sacrifice  of  Abraham 


Bartsch  5 


Brilliant  impression,  engraved  after  Raphael’s  Paint¬ 
ing. 


47*  The  Madonna  holding  the  Infant,  crowned  by  an 
Angel. 


B  49 


Beautiful  old  impression,  slightly  cut. 


Rare  engraving  after  Raphael’s  design.  The  cypher 
AV  in  the  upper  left  hand  corner. 

48*  Apollo  of  the  Belvedere 

B.  328 

Fine  early  impression  before  the  address  of  Sala¬ 
manca. 

49  Hercules  and  Antheus 

B.  347 


Beautiful  old  impression  before  the  retouches. 

This  engraving  is  a  copy  after  Marc-Antonio’s.  (B. 

346). 

50*  Purity 

B.  379 

Engraved  after  Raphael,  early  but  worn  impression. 

29 


B  Marco  Dente  da  Ravenna 

Born  about  1460,  died  Rome  1527. 

51  Entellus  and  Dares 

B.  195 

Very  beautiful  old  impression. 

Engraved  after  the  design  of  Raphael.  Bartsch  calls 
this  plate  one  of  the  finest  of  the  artists  work. 


51a*The  same,  later  impression  with  the  address  of  Sala¬ 
manca 


52*  The  abduction  of  Helena 

Good  old  impression. 


B.  210 


Bartsch  calls  this  a  repetition  of  the  plate,  which  he 
attributes  to  Marc-Antonio  after  Raphael’s  design. 
(B.  209). 


52a*The  same,  late  impression  with  the  address  of  Sala¬ 
manca 

53  Dance  of  two  Cupids  with  seven  children 

B.  217 

Copy  A,  after  the  original  of  Marc-Antonio,  attri¬ 
buted  by  Bartsch  to  Marco  da  Ravenna,  from  the 
collection  Richardson. 


54 


The  basso-relievo  with  three  Cupids,  holding  the  em¬ 
blems  of  Neptune 


B.  242 


Very  brilliant  old  impression,  extremely  rare,  from 
the  collection  Liphart. 


30 


55*  The  Faun  with  a  Tigei; 

Bartsch  307 

Engraved  after  Raphael’s  drawing  from  an  antique 
sculpture.  Bartsch  states  that  this  piece  is  generally 
attributed  to  Marc-Antonio,  but  he  thinks  that 
Marco  da  Ravenna  was  its  author,  in  which  opinion 
Delaborde  concurs,. 

56  Venus,  hurt  by  a  thorn 

B.  321 

Beautiful  second  impression  with  the  address  of  Gio 
Marco  Paluzzi. 

Bartsch  states  that  this  plate  had  been  very  carefully 
retouched  by  Fr.  Villamena. 

57  Venus  and  Cupid  carried  by  Dolphins 

B.  324 

Very  beautiful  old  impression,  before  the  address  of 
Salamanca. 

57a*The  same,  with  Salamanca’s  address,  poor,  late  im¬ 
pression. 

C  Giorgio  Ghisi,  called  il  Mantuano 

Mantua  1520  to  1582. 

58  The  School  of  Athens. 

Engraving  from  two  combined  plates  after  Raphael’s 
fresco  in  the  Vatican. 

B.  XV  24 

Capital  plate  in  old  impression  before  the  retouches, 
from  Collection  Harzen. 

In  accordance  with  Bartsch  one  of  the  finest  and  rar¬ 
est  pieces  of  the  master. 

31 


59 


The  dream  of  Raphael,  also  called  the  Melancholia  of 


Michel-Angelo 


B.  XV.  67 


Beautiful  impression,  very  rare. 

This  large  plate,  which  has  been  engraved  after  a 
phantastic  composition  by  Tuca  Penn  represents  the 
problems  with  which  the  philosopher  is  confronted 
during  his  life. 


D  The  Master  B,  with  the  Die 

Worked  about  1530. 


60  The  assumption  of  the  Virgin 

Beautiful  old  impression,  rare. 

61  The  Sacrifice  to  Priapus 

Fine  first  impression,  before  address  and  retouches. 

62*  Apollo  and  Marsyas 


B.  7 


B.  27 


B.  31 

Beautiful  early  state,  before  address  and  retouches. 


63-66*  The  Tapestries  of  the  Pope,  after  Raphael 

B.  32-35 

Bartsch  describes  as  regular  states  those  showing 
the  address  of  Lafrery,  but  mentions  that  there  are 
found,  if  only  very  rarely,  prints  before  this  address 
and  inscription. 


32 


63*  A  crowned  Cupid,  to  whom  two  others  offer  plates 
with  gold-pieces 

64*  A  Cupid  riding  on  an  ostrich,  the  foot  of  which  is 
held  by  another  cupid,  while  a  third  is  pulling 
feathers  from  the  bird’s  tail 

65*  A  monkey,  standing  on  a  garland  holding  a  child, 
which  two  Cupids  try  to  recover 


66  Cupid  wrestling  with  a  boy,  whom  two  other  cupids 

are  beating  with  bow  and  arrow 

This  last  plate  of  the  set  is  before  the  address 
of  Lafrery  and  the  inscriptions. 

67  The  Triumph  of  Cupid 

Bartsch  37 

Extremely  fine  and  rare  first  impression,  before  the 
address  of  Eafrery,  in  perfect  condition. 

A  charming  piece  of  extraordinary  beauty. 


68-99*  The  tale  of  Psyche,  set  of  32  engravings  after  the  de¬ 
signs  of  Raphael 


Bartsch  39-70 

Complete  set  in  good  second  states,  the  address  of 
Salamanca  has  been  erased  on  the  majority. 


33 


99a*The  same  set,  complete,  late  and  retouched  impres¬ 
sions 


100*  Aeneas,  carrying  his  father  Anchises 

B.  72 

Good,  second  impression,  with  the  address  of 
Thomassin. 

E  Giovanni  Jacopo  Caraglio 

Pupil  of  Marc-Antonio,  born  Parma  about  1500,  died 
about  1570. 

101  The  Annunciation 


Strong  and  very  dark  impression. 


Bartsch  2 


Ill .  Wood-cuts  in  Clair-  Obscur 


Ugo  da  Carpi 

Born  Carpi  1486,  died  Rome  1532. 

102  David’s  victory  over,  Goliath 

Bartsch  XII,  page  26,  No.  8 

Wood  cut  in  clair  obscur,  from  three  plates. 

Second  state,  with  the  names  of  Raphael  and  Ugo, 
brilliant  impression,  printed  in  blue,  extremely  rare. 


103  The  massacre  of  the  Innocents 

B.  XII,  p.  35,  No.  8 

Bartsch  writes  about  this  print;  This  clair-obscur 
from  three  plates  offers  the  same  subject  which  one 
admires  in  Marc-Antonio’s  engraving.  It  is  perfect 
in  its  kind  and  exceedingly  rare.  It  is  missing  in 
many  of  the  richest  collections. 

Somewhat  worn  impression. 


104  The  miraculous  draught  of  fish 

B.  XII,  p.  37,  No.  13 

Woodcut  in  clair  obscur  from  three  plates  after 
Raphael’s  Cartoon,  second  state,  with  the  monogram 
of  Andrea  Andreani. 


35 


105  The  Descent  from  the  Cross 


B.  XII,  p.  43,  No.  22 

Woodcut  in  clair  obscur  from  three  plates,  printed 
in  brown.  Extremely  fine  impression  of  the  first 
state. 


106  The  Resurrection  of  Christ 

B.  XII,  p.  45,  No.  26 

Woodcut  in  clair  obscur,  from  two  plates,  printed  in 
green.  Brilliant  first  impression. 


107  The  death  of  Ananias 

B.  XII,  p.  46,  No.  27 

Woodcut  in  clair-obscur  from  three  plates,  after  a 
design  for  Raphael’s  Cartoon.  Fine  impression  of 
the  third  state. 


108  A  Sybil  with  a  child  holding  a  torch 

B.  XII,  p.  89,  No.  6 

Woodcut  in  clair-obscur  from  two  plates,  printed  in 
brown ;  from  the  collections  Mariette  and  Gawet 
Very  rare. 

In  accordance  with  Vasari  this  piece  was  the  first 
attempt  of  Ugo  to  engrave  in  this  manner. 


109  Venus  and  Cupids 

B.  XII,  p.  107,  No.  3 

Clair  obscur  from  4  plates,  oval. 

Beautiful  impression  and  very  rare. 


36 


NICCOLO  BOLDRINI 


Born  near  the  beginning  of  the  16th  Century, 
worked  still  in  1566  in  Venice. 

110  Hercules  and  the  Lion 

B.  XII,  p.  119,  No.  17 

Woodcut  in  clair  obscur  from  two  plates. 

Extremely  rare  and  fine  impression  of  the  first  state 
from  the  collection  of  J.  A.  Boerner,  Nuernberg. 

UNKNOWN  MASTER 

111  Old  woodcut,  representing  the  same  subject,  after 

the  same  design,  however  with  wide  landscape 


37 


4 


